Ursula von Rydingsvard is also showing drawings
alongside her sculpture. Her drawings echo her materials sensibility, the ones
shown being a meditation on the processes of papermaking as well as paper’s
ability to retain traces and impressions of actions and engagement with the
process of markmaking. The paper chosen is a cotton laid paper. She has opened
up the nature of the process by extending the papers beyond the papermaking
frame, probably having the paper laid onto felt and while still wet extending
the bottom edges by working with wet paper pulp and cotton threads, thus highlighting
the way gravity effects the ‘run’ of water through the paper as it dries. Spots
of pigment are also applied, these dissipating out through the wet paper and
falling down towards the extended edges, again highlighting the awareness of
gravity as a process affecting the construction of the images. The fact these
papers are cotton based, is further emphasised by additions of threads sunk
into the bottom edges of the papers, breaking the papers’ rectangles (see
comments on grids below) and suffusing themselves into the pulp extensions. My
previous two posts, ‘The Imprint and the Trace’ and ‘Letting things happen’
could both be read in conjunction with her drawings, as several of the points
made are observable in her working processes.
Rydingsvard’s sculptures are also of great interest
to anyone drawing. At their core they are three dimensional grids and no matter
how far she pushes the carved exploration towards organic forms, the fact that
she constructs these forms from regular blocks of cedar wood, means that the
interplay between the three dimensional grid and the carving provides an
underlying structural element not unlike layers of rocks laid down over
millions of years, that are then revealed by erosion. The grid as an organizational
and structural principle is something that I will be reflecting upon in a
future post, but it might be worthwhile thinking about how far a grid can be ‘eroded’
away and yet still be used as a structural device. If you watch the film of her
making, you will also see that she builds these sculptures up in a painstaking
way, each block being marked out for cutting before it is attached to the next,
again this might be a way into thinking through how a structural element can be
carefully built as well as ‘found’.
See:
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